Metamorphosis begins with the body. My entire study originates from the analysis of my own body, which becomes both the subject and the instrument of my exploration. The act of observing oneself—through photography and the reproduction of those images—offers the possibility to better understand and conceptualize the body in space, shifting the perspective away from the conventional, internalized vision we usually have of ourselves.
Photography, in this process, becomes an essential tool. It allows me to detach from my own physicality, to observe it as an external form, and to reinterpret it through a new visual language. The body enters into a dialogue with space—through the interaction of shadows, light, objects, and other bodies. These elements collectively shape a dynamic environment where the boundaries of form are constantly redefined.
I believe that all the advantages photography offers within artistic practice—such as its capacity to freeze time, isolate details, and reveal unseen connections—are not just helpful but nearly indispensable. They enable a more detailed, layered, and complete investigation of the images I aim to represent, allowing for a deeper understanding of transformation, identity, and presence.
These works, based on photographs, have helped to mechanize the process of generating shadows present within my body—shadows that, over time, evolved into what I now call Outside Metamorphosis. Through repetition and study, the photographic image became a tool to extract, isolate, and reconstruct these shadows, turning them into independent forms capable of suggesting new bodily presences.